I was pleased to lend Ekrem Serdar a hand in revising a rather clunky translation of film notes written by Harun Farocki for a screening of Michael Klier’s Der Riese / The Giant (1983). Der Riese is an 80-minute compilation film of video footage taken from FRG surveillance cameras. Experimental Response Cinema screened the film earlier this spring.
Farocki was deeply inspired by Der Riese. It anticipates his sustained interest in posthuman vision.
In “Written Trailers,” translated in the 2010 exhibition catalogue, Harun Farocki: Against What? Against Whom? (Antje Ehmann and Kodwo Eshun, eds.), Farocki explains, “I begrudged Michael Klier his idea of making a film entirely out of surveillance-camera imagery.” (227)
In the same catalogue, Volker Pantenburg suggests that Der Riese (The Giant, 1982), “is an obvious model for Farocki’s Counter-Music.” (98)
When Farocki wrote about Klier’s video in 1983, he sensed that there was something genuinely new in these types of images. Something that made him think of how photographs must have appeared to the first people to behold a still image: ‘The first photographs – and this can appear over and over again – demonstrated that unimportant people, objects or events can also become the subject of images. Being images in the same way as intended and planned images, they raise the question of what hierarchy, meaning or sense are supposed to be.’ (Farocki, “Kamera in Aufsicht,” Filmkritik 9/1983, p. 416) (98)